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Final Cut Pro Setup - TreetWiki

Final Cut Pro Setup

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(File workflow)
(Avoiding rendering on the FCP timeline)
The format you drop onto the timeline has to match exactly in the following ways in order to avoid rendering:
The format you drop onto the timeline has to match exactly in the following ways in order to avoid rendering:
-
    It must use the same color space
+
* It must use the same color space
-
    It must use the same aspect ratio
+
* It must use the same aspect ratio
-
    It must have (or not have) an independent SMPTE timecode track to match your preferences
+
* It must have (or not have) an independent SMPTE timecode track to match your preferences
-
    It must use exactly the same codec
+
* It must use exactly the same codec
-
    It must be exactly the same frame rate
+
* It must be exactly the same frame rate
-
    It must have exactly the same dimensions
+
* It must have exactly the same dimensions
-
    It must use exactly the same IB-frame layout for the specific codec in use.
+
* It must use exactly the same IB-frame layout for the specific codec in use.
-
    The audio bit width and sampling rate must be identical and the codec must be the same.
+
* The audio bit width and sampling rate must be identical and the codec must be the same.
Otherwise it will render.  Many editing programs attempt to have "renderless" workflow by allowing you to drop anything onto the timeline.  Editors who rely upon this are sacrificing significant quality and speed in their workflow.  It is good that FCP does not do this.    There are reasons why you can't simply use H264 in editing that are not obvious to people.  For example, H264 has frame "clusters" (IB groups).  You cannot do a cut in between key frames, so editors "fake it" round your edit to the nearest keyframe.  This changes the timing of cuts and edits and means that you can't seamlessly substitute higher quality materials for low quality materials (the usual technique for cinema workflow).  The unwashed masses who do amateur video could care less.  But we care, professional editors care, and we know you care!
Otherwise it will render.  Many editing programs attempt to have "renderless" workflow by allowing you to drop anything onto the timeline.  Editors who rely upon this are sacrificing significant quality and speed in their workflow.  It is good that FCP does not do this.    There are reasons why you can't simply use H264 in editing that are not obvious to people.  For example, H264 has frame "clusters" (IB groups).  You cannot do a cut in between key frames, so editors "fake it" round your edit to the nearest keyframe.  This changes the timing of cuts and edits and means that you can't seamlessly substitute higher quality materials for low quality materials (the usual technique for cinema workflow).  The unwashed masses who do amateur video could care less.  But we care, professional editors care, and we know you care!
Here are the rules you should follow:
Here are the rules you should follow:
-
    Establish a default FCP preset which defines your workflow settings using ProRes
+
* Establish a default FCP preset which defines your workflow settings using ProRes
-
    Transcode EVERYTHING into ProRes before using it in your projects (that is what Treet's "Edit Ready" files are all about)
+
* Transcode EVERYTHING into ProRes before using it in your projects (that is what Treet's "Edit Ready" files are all about)
-
    Transcode all results using Compressor for finals.
+
* Transcode all results using Compressor for finals.
This method assure that FCP will never have problems, never crash, never render when you don't want it to, and that no project you're ever working on will contain surprises and unexpected video flaws.
This method assure that FCP will never have problems, never crash, never render when you don't want it to, and that no project you're ever working on will contain surprises and unexpected video flaws.
-
 
== Final Cut Pro Settings ==
== Final Cut Pro Settings ==

Revision as of 08:53, 15 July 2011

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